Why ‘The Hunchback of Notre Dame’ is the Best Animated Disney Movie Ever Made
With such a raw look at the 15th century, it seems that Disney was really trying to step outside of its element with this motion picture.

A low-budget independent film made on 35mm, that was screened only four times in a small circle in China since its completion in 2000. This semi-autobiographical film, set in the Cultural Revolution, provides the missing link between the roots-seeking and scar literature and art of the 1980s and the performance art of the 1990s and 2000s. It grounds many of the embodied extremes of China’s famous performance art in the persistent psychosexual fetishes and neuroses produced by the extreme denial of individual desire under “mass line” socialism (Chinese Independent Film Archive).
With such a raw look at the 15th century, it seems that Disney was really trying to step outside of its element with this motion picture.
All in all, 47 Meters Down: Uncaged is a film I would recommend. It promotes the bond of sisterhood, which in this case is clearly thicker than blood, as well as courage. No one truly knows how strong they are until they go through something unimaginable and come out changed for the better.
People are so much deeper and far more extraordinary than what gender they were assigned at birth.
The film didn’t have to be as long as it is. It just dragged on and on with scenes that had no substance. Every so often we get an action scene, and even those isn’t that fun.
If “Good Time” was a lean exercise in suspense, “Uncut Gems” is an ongoing panic attack. It handcuffs us to an immoral man, made up of selfishness and unreliability. At every point, Adam Sandler connects himself to this idiotic soul, unearthing the misguided opportunism that comes with gambling addiction
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.